“Hebi-Onna”
■ The performance group, Mikuni values Japanese themes and way of expression.
I am very interested in their approach that goes against the current trend of assimilating
western culture and styles for any matter.
I hope that such Japanese themes and way of expression can be properly retained
and transmitted to overseas areas through their activities.
(Comment by Hakudai Yamano, dance performance reviewer, quoted from TOKYO DANCE SQUARE)
“Sotobakomachi”
■ The story of “Sotobakomachi” unfolded through dancing, based on the dialogue of Utai,
Japanese traditional songs, which were sung by Tomoko Okubo who also plays Sangen,
and Jujiro Maegawa.
As the work is a masterpiece of Noh, the lines of the songs are powerful and I could fully
enjoy even scenes without dance.
The staging to straightly show the atmosphere of Noh worked successfully when Shigeki Yamada,
a main dancer appeared on the stage in a later scene and performed a solo.
He danced as a woman at first and then transformed into a man.
At the moment when he showed the transformation from a female person into a male person,
not as a double role, the pathos and emotion of the legendary beautiful woman, Sotobakomachi,
changed into mystic breath of air looming out of her genitals and began to hover around the stage.
I could read the attempt to invite the audience to the “subtle and profound world”.
(Comment by Yuko Ijichi, dance performance reviewer, quoted from TOKYO DANCE SQUARE)
[“Sotobakomachi” at Oribe Hall, Roppongi, Tokyo, on Dec. 7 – 9, 2007]
■Singing of Jujiro Maegawa with overwhelming voice and his production, scenario and musics,
choreography by Niina Maeda, songs and Sangen (stringed musical instrument) by Tomoko Okubo
and beats of Japanese drum.
Songs by Maegawa and Okubo told the story, and the solo dance by Yamada fiercely represented a man,
and later a woman in pure white undergarment.
Strong impact was given by the armor of the defeated warrior, the surface of which was filled with several pairs of sneakers.
I was keenly inspired with "primitive feeling" in every aspect of visual sense, rhythm, voice and story.
(Comment by Koichi Sekiguchi, dance performance reviewer, quoted from CHACOTTO Internet Magagine)
Performance Part I "Maroudo"
■ The dance defied any categorization.
The simple but elaborated physical movements without hesitation were a style of expression
and at the same time, a shock.
This performance made me think if there is a physical language, it may be this sort of thing.
(Comment by Shinichiro Ookura, Personality of FM J-WAVE, quoted from the official weblog of his radio program)
■ The theme of “Shisha no Sho” has ever been challenged and found difficult by some artists,
but this group succeeded in putting it into shape without difficulties.
It is probably because of their acoustic technology, a wide variety of music used for this work,
and the group’s stance behind their stage production aiming to create visually interesting stages regardless of genre.
Over a half-century ago, people in Japan attempted to create new performing arts by producing works with various elements of Japanese as well as Western cultures, and then laid a path to a new age.
This group also involves itself into such really challenging theme.
(Comment by Yukihiko Yoshida, dance performance reviewer, quoted from TOKYO DANCE SQUARE)
Performance Part II "Maga"
■ You can purely enjoy every part of the stage.
You feel pent-up emotions emerging and cannot hold back your desire for expression.
(Comment by Shinichiro Ookura, Personality of FM J-WAVE, quoted from the official weblog of his radio program)
■ Mikuni is pursuing the possibility of performing arts by skillfully incorporating present-day
instruments and acoustic environment.
Their attempt comes to be overlapped with themes to which Japanese artists addressed in early-modern age.
I may not be the only person who could feel bright and lively spiritual beats from the expressions on the artists' faces .
(Comment by Yukihiko Yoshida, dance performance reviewer, quoted from TOKYO DANCE SQUARE)
others
■Songs of Jujiro Maekawa and the stage by Mikuni have the power of vibrating
“memories of ancient times” which remain dormant deep inside us.
(Comment by Taki Ito, Japanese folk singer and part-time lecturer of Tokyo University of Agriculture)
■Mikuni is a cross-genre performance group of up-and-coming artists.
I really anticipate next actions of this group standing in the center of attentions.
(Comment by Yoko Narahashi, film director and Hollywood casting director)